Key: E-flat major (nominal) → quickly moves to B-flat minor
The piece begins with an implied tonic chord (E-flat – G – B-flat) arpeggiated in triplets. However, Schubert immediately tonicizes B-flat minor (the dominant’s parallel minor).
| Bar Range | Key Area | Harmonic Function | Notable Feature | |-----------|----------|------------------|------------------| | 1–4 | E-flat major | Tonic prolongation (I) | Arpeggiated I – V⁷ – I | | 5–12 | B-flat minor | Modulation via C°⁷ (vii°⁷ of B-flat minor) | Uses melodic minor #6 (G-natural) and #7 (A-natural) to pivot | | 13–20 | A-flat major | Submediant of E-flat, relative major of F minor | Surprise German Augmented 6th (Ger⁺⁶) in bar 18: A-flat – C – E-flat – F# | | 21–28 | F minor | Chromatic mediant of A-flat | Descends via diminished 7ths (D°⁷, G°⁷) | | 29–36 | D-flat major | Flat submediant (bVI of F minor) | Resolves deceptively back to E-flat via a common-tone diminished 7th (C°⁷) | | 37–44 | E-flat major | Neapolitan relationship? No – direct return | Sudden Picardy effect but quickly destabilized | | 45–52 | B major (C-flat major) | Enharmonic shift: E-flat → B is a tritone | Uses F-flat to pivot to E-flat again | | 53–69 | E-flat major | Extended dominant preparation (V⁷) | False arrival at bar 61 (C-flat major chord) |
The Trio (Op. 90 No. 2 is famous for having a Trio that acts as a second, contrasting middle section) shifts the character entirely to a solemn chorale.
Key Area: E-flat Minor:
Chromatic Mediant Relationships:
Though this is a small form (ABA), Schubert outlines three distinct tonal areas in the A section alone:
The "False Tonic" – The ear expects a strong E-flat major resolution, but Schubert resolves V⁷ of E-flat (B-flat⁷) to a C-flat major chord (bar 61), which is enharmonically B major – the Neapolitan of the Neapolitan. This is a harmonic ellipsis.
Key: E major (flat submediant of E♭ major is C♭, but E major is enharmonic to F♭—a rare III♭ relation).
If you are writing a paper or studying the score, focus on these three "Schubertian" techniques:
Harmonic Analysis of Schubert’s Impromptu in E-flat Major, Op. 90, No. 2 Franz Schubert’s Impromptu in E-flat Major, Op. 90, No. 2
(D. 899) is a staple of the Romantic piano repertoire, renowned for its "moto perpetuo" triplet scales and dramatic tonal shifts. While it begins with a light, shimmering character, a harmonic analysis reveals a darker undercurrent that eventually consumes the piece, leading to a tragic conclusion in the parallel minor key. Structural Overview The piece follows a compound ternary (A–B–A) form with a distinct Section A (E-flat Major): Characterized by rapid, scale-based triplet passages. Section B (B Minor/Trio):
A starkly contrasting "bohemian waltz" marked by heavy accents and wide-spaced octaves. Section A' (Return to E-flat Major): A restatement of the opening material. Coda (E-flat Minor):
A final, accelerating section that shifts permanently into the minor mode. Harmonic Progression and Key Relationships The Ambiguity of Section A Although ostensibly in E-flat Major , Section A frequently veers into the parallel minor ( E-flat Minor
). The harmonic rhythm is relatively slow, often tethered by a repetitive bass line that grounds the swirling right-hand triplets. A key transitional moment occurs as the music moves through a sequence of secondary dominants to reach a climax, followed by a shift to pianissimo in E-flat minor. The Remote Trio (Section B)
The Trio section is notable for its distant harmonic relationship, modulating from E-flat to
(the enharmonic equivalent of C-flat minor). This section consists of five four-bar phrases that establish B minor before modulating to F-sharp minor Key Modulations: The transition to F-sharp minor is achieved through a chord of V (G# diminished 7th). Counterpoint:
Schubert employs passing tones and neighbor tones (e.g., F#–G–F#) within the inner voices to add melodic interest to the block chords. The Coda: Final Resolution to Minor
Introduction
Franz Schubert's Impromptu Op. 90, No. 2 in A-flat major is a solo piano piece that showcases the composer's mastery of harmony and lyricism. Written in 1827, this impromptu is part of a set of four pieces that are characterized by their spontaneity and poetic expressiveness. In this harmonic analysis, we will explore the piece's structure, chord progressions, and harmonic techniques.
Structure
The Impromptu Op. 90, No. 2 follows a modified sonata form, with an exposition, development, and recapitulation. The piece begins with a gentle, lilting melody in the right hand, accompanied by a subtle arpeggio pattern in the left hand. The exposition presents two main themes, which are later transformed and elaborated in the development section.
Harmonic Analysis
The piece begins in A-flat major, with a slow introduction that establishes the tonality through a series of gentle, descending arpeggios (I - VI - IV - I). The first theme, presented in the right hand, is accompanied by a straightforward chord progression:
mm. 1-4: I - IV - I - IV (A-flat major - D-flat major - A-flat major - D-flat major)
The second theme, introduced in the left hand, features a more complex harmonic progression:
mm. 9-12: VI - VII - III - VI (F-flat major - G-flat major - C-flat major - F-flat major)
This progression creates a sense of harmonic uncertainty, which is later resolved in the development section. Schubert's use of the VII chord (G-flat major) adds a touch of drama and surprise, while the III chord (C-flat major) provides a moment of contrast and color.
Development Section
The development section begins with a dramatic outburst in E-flat minor (mm. 25-28), which serves as a harmonic pivot to the new key area:
mm. 25-28: V7/E-flat - E-flat minor - A-flat major (E-flat dominant 7th - E-flat minor - A-flat major)
Schubert's use of the V7 chord creates a sense of tension, which is later released as the music returns to A-flat major. The development section features a series of fragmented themes and motives, which are passed between the hands and subjected to various harmonic transformations.
Recapitulation
The recapitulation, which begins in m. 49, presents a restatement of the first theme in A-flat major. However, Schubert adds a few harmonic twists, including a brief detour to E-flat major (mm. 57-60):
mm. 57-60: V/E-flat - I/E-flat - IV/E-flat - I/E-flat (E-flat dominant - E-flat major - A-flat major - E-flat major)
This harmonic excursion adds variety and interest to the recapitulation, while also reinforcing the piece's overall tonal structure.
Conclusion
In conclusion, Schubert's Impromptu Op. 90, No. 2 features a rich and expressive harmonic language, characterized by subtle chord progressions, unexpected harmonic twists, and a mastery of tonal structure. Through his use of harmony, Schubert creates a sense of drama, contrast, and lyricism, which are all hallmarks of his mature style. This impromptu remains one of Schubert's most beloved and enduring works, and its harmonic analysis provides a fascinating glimpse into the composer's creative genius.
Schubert's Impromptu Op. 90 No. 2 in E-flat Major (D. 899) is a masterclass in how early Romantic composers used harmonic tension and structural contrast to create a narrative of psychological transition. Composed in 1827—the same year as the searing song cycle Winterreise—the piece masks its emotional weight behind a facade of sparkling, moto perpetuo triplets. 1. Structural Overview
The piece follows a clear ternary (A–B–A) form with a substantial coda. Section A (mm. 1–82): E-flat Major / E-flat Minor
Section B / Trio (mm. 83–158): B Minor (enharmonic to C-flat minor)
Section A' (mm. 159–250): Return to E-flat Major / E-flat Minor Coda (mm. 251–283): E-flat Minor 2. Harmonic Analysis of Section A
The opening subject is characterized by a "looping" and "grouping" of scale-based triplets. While it begins in a bright E-flat major, Schubert quickly introduces a darker undercurrent.
Initial Phrases: The harmony establishes the tonic (I) in m. 1 and modulates to the dominant (V) by m. 3.
Modal Shift: A signature Schubertian move occurs at m. 25, where the key shifts to the parallel E-flat minor. This transition is often marked by a drop to pianissimo, signaling a shift from a playful dance to a more anxious, interior state.
Transition to B: The section concludes with oscillating figures that act as a harmonic bridge, preparing for the dramatic arrival of the Trio. 3. The Trio: A Radical Modulation
The Trio (Section B) is one of the most famous examples of Schubert’s bold harmonic language. It shifts to B Minor.
Relationship to the Tonic: From an E-flat major perspective, B minor is a distant, "non-diatonic" key. However, if we view the previous section as E-flat minor, B is the submediant (bVI).
Enharmonic Pivot: Schubert prepares this by implying C-flat major (the flattened 6th of E-flat) and then enharmonically transforming it into B minor to create a "bohemian" or "Hungarian" waltz feel.
The "Wanderer" Influence: The Trio features stamping, off-beat accented triplets and widely-spaced bare octaves, reminiscent of the "Wanderer" Fantasy. 4. The Tragic Conclusion: The Coda
Standard Classical form dictates that a piece in a major key should end in major. Schubert subverts this, reflecting the "alienation and tension" found in his late works.
Return of E-flat Minor: After the repetition of Section A, the Coda (m. 251) returns to the dark material of the Trio, now firmly rooted in E-flat minor.
The Final Cadence: The piece ends with a forceful descent and two chords in E-flat minor. This "tragic" ending symbolizes the traveler's inability to find home, a recurring theme in Schubert's final year.
For further study, you can access the full Schubert Impromptu Op 90 No 2 Sheet Music at MuseScore or explore Henrik Kilhamn's analysis on YouTube. 90 No. 4 impromptu?
Introduction
Franz Schubert's Impromptu Op. 90, No. 2 in A-flat major is a solo piano piece that showcases the composer's mastery of harmony and melodic writing. The piece is characterized by a singing melody, nuanced dynamic shifts, and a range of emotions. This harmonic analysis will explore the piece's chord progressions, tonal harmony, and departures from traditional tonality.
Structure
The Impromptu Op. 90, No. 2 is structured in a modified A-B-A form. The A sections are in the tonic key of A-flat major, while the B section modulates to a series of related keys.
Section A (mm. 1-24)
The piece begins in A-flat major, with a gentle, lilting melody in the right hand accompanied by a steady, pulsing rhythm in the left hand. The chord progression is largely diatonic, with a I-V6/4-I progression in the first four measures:
m. 1: I (Ab major) - 3rd inversion (Ab - C - Eb) m. 2: V6/4 (Eb major) - 2nd inversion (Eb - G - Bb) m. 3: I (Ab major) - root position (Ab - C - Eb) m. 4: I (Ab major) - 1st inversion (C - Eb - Ab)
The A section continues with a series of connected phrases, each with its own unique harmonic interest. Notable moments include:
Section B (mm. 25-44)
The B section begins with a new theme in the key of E-flat major (V of Ab major). The harmony becomes more complex, with a series of secondary dominants and borrowed chords:
m. 25: V (Eb major) - root position (Eb - G - Bb) m. 27: vii°7/5 (Db7) - 3rd inversion (Db - F - Ab - Bb) m. 29: vi (Gb major) - root position (Gb - Bb - Db)
The B section modulates through a series of related keys, including:
Section A' (mm. 45-56)
The final A section returns to the tonic key of A-flat major, with a recapitulation of the opening theme. The harmony is largely similar to the first A section, with a few notable differences:
Harmonic Departures
Throughout the piece, Schubert employs a range of harmonic techniques to add color and interest:
Conclusion
Schubert's Impromptu Op. 90, No. 2 is a masterpiece of Romantic piano music, with a rich harmonic landscape that showcases the composer's innovative approach to tonal harmony. Through a combination of diatonic and chromatic harmony, Schubert creates a sense of drama and contrast, while maintaining a strong sense of tonal coherence. This harmonic analysis has highlighted the piece's intricate chord progressions, departures from traditional tonality, and expressive use of harmony to convey emotion and mood.
This piece is a masterpiece of Schubert’s harmonic language, characterized by modal mixture (borrowed chords), seamless modulations, and the juxtaposition of major and minor tonalities. schubert impromptu op 90 no 2 harmonic analysis